those two are pretty dead. working from photographs and imagination sucks all the life out of painting. You aren't painting light like you should be. The images are piercing straight through the layers of light that would naturally be in front of what you are viewing. Gives everything a really dead look. Look at the impressionists and post-impressionists to get a better idea of what I mean.
>>2292368 also you are samefacing hard. maybe practice capturing likeness so your figures stand apart a bit more.
when you paint someone's likeness it should "read" as the person. It shouldn't read as "human" it should read as "steve buscemi" or whatever. Think of it as painting their name, and not painting their face.
>>2292368 >working from photographs and imagination sucks all the life out of painting I agree, and I see that especially the first painting I posted. I think the problem is not that I worked from photographs, but that I used so many photographs for the different parts, and even multiple photographs for each figure, instead of organizing the entire scene and having a solid, holistic reference. though of course working from life would be ideal. >The images are piercing straight through the layers of light that would naturally be in front of what you are viewing not sure what this means though.
>>2292378 camera's don't see light the same way eyes see light. like you said, working from life is ideal. the more you observe nature the more silly photographs will seem. Even tomorrow, watch the sunset and observe the colors in the sky, then take a picture of the sunset, and see how big a difference it makes. photographs don't see things the same way you do.
>>2292356 >>2292371 The recurring bizarre crocodile cracks me up. Anyway I can't really add any insight that hasn't already been said. I like your work, and you seem aware of your weaknesses, so I'd love to see how you improve in the future.
>>2292404 >>2292397 These two are my faves. Just for some perspective: you're better than most people on here.
One thing I would try doing in your finished work is using more contrast in the level of detail, sharpness, and rendering. The paintings are generally at the same level all over, and perhaps it tends to flatten everything.
This effect is combined with a slightly cartoony look to everything. I don't know what it is, but everything looks rounded and mushy and I find myself looking for more sharply defined areas, shapes and boundaries. I get the feeling this effect is something semi-conscious and a bit of a stylistic choice, but I thought I'd bring it up anyways. Maybe something to work on would be abstract compositions.
>>2292356 I would like to know what this is about. A good question that you should ask people should be: How do you interpret my paintings? In this one I'm really not sure what you're trying to say, a title would help. (don't feel bad if people don't get this, I'm in an art college and the audience often doesn't see what the artist is trying to convey) Honestly with the combination of the iced tea and the crocodiles eating nigger heads I would assume that this is a piece about racism in the south. They look pretty white and have trashy knick knacks, are eating kind of gross looking southern food plus the ducks and hiteous wallpaper. I'd say this is a critique on the south. Stuff to improve: Perspective, its hard to tell exactly where you're messing up here but I have to admit it looks off. I think the biggest problem is actually the dishes on the center table. They look very tiny. If objects appear smaller in the distance then the viewer assumes that: That dish of corn you would paint even shorter if it were directly beside the old man. Right now it is about the heigth of 1/4 of his head but if we were to push it back further in space next to him it would diminsh to 1/8th. I think. Trust me, it looks weird. The two square dishes are in 1 pt perspective but at two different points, yet their center lines appear to be going into the same point. I really don't know how to explain all this, its all in my head and I'm having trouble putting it into words. Basically, Did you bother to set up a perspective grid before you started this? If no, then obv. do that. If you did set up a grid: Get someone else to look at it before you go into the painting stage and before you start sketching to a couple of studies of a dinner setting. Sorry if my words got all mixed up, you better appreciate this cause I have shit to do but I see you have potential and only really need to keep working and grinding out paintings to get better.
>>2292479 Don't listen to this anon, they're not that bad and I think they're pretty consistent with the level you are portraying otherwise. I really think you just need to work on everything collectively hence me saying "just keep making paintings you will get better". /ic/ puts a ridiculous amount of importance on things being anatomically correct. This is due to the fact that they concentrate on commercial art which is pretty much 80% characters.
>>2292515 >draught (n) c. 1200, from Old English *dreaht, *dræht, related to dragan "to draw, drag" (see drag (v.)). Oldest sense besides that of "pulling" is of "drinking." It retains the functions that did not branch off with draft (q.v.).
>oldest sense being to draw-from, to pull >drinking is pulling from a cup >drawing is pulling a line with a pencil >draught literally is pronounced 'draw it'
>>2292464 >One thing I would try doing in your finished work is using more contrast in the level of detail, sharpness, and rendering yeah, that's potentially my biggest weak point right now, I have a tendency to over-render and over-detail the entire image. I've slowly been learning to let stuff fade into the background, use soft and lost edges, etc.
>>2292479 I'm at an art center and have access to figure drawing classes, but I'm low on cash so I might just get the girlfriend to pose for me. due to all the feedback ITT I think I'll try painting a large figure from life in the near future.
>>2292487 >a title would help Title is the filename. "Supper" refers to the meal the family is sharing, the alligator's dinner, and the image of the last supper in the upper right of the back wall. >Honestly with the combination of the iced tea and the crocodiles eating nigger heads I would assume that this is a piece about racism in the south Pretty accurate.
The alligator is an actual ceramic object in my grandmother's home (I'm from Alabama). We ate every Sunday dinner at her house with the alligator staring at us from the corner of the room, but no one really mentioned it. I wanted to do a huge painting of the object (the canvas is 6 feet by 5 feet) to draw attention to this overlooked piece of racist kitsch, and lingering racist attitudes in the South generally. The days of slavery and lynching are gone, but the racist attitudes are still there, they've just become more subtle, harder to identify, or confined to the home.
>Did you bother to set up a perspective grid before you started this? nope. a big problem with this painting in particular was my lack of planning on the front end. It taught me a valuable lesson- whatever you don't take care of in the planning and sketch, you'll have to tackle in the middle of painting, and it will be twice as difficult to fix.
>>2293032 It's mass-produced, ceramic from a mold. my grandmother bought it in New Orleans, which is notorious for selling racist kitsch. That was decades ago, but I wouldn't be surprised if there were still shops in Louisiana selling stuff like this.
Nice paintings OP! I don't have much to suggest, perhaps focus more on your drawing and paint more from life and perhaps try to do some glazing or something to bring in an extra layer of interest and depth to your work. Right now the colours feel pretty dead.
>>2292527 >I'm at an art center and have access to figure drawing classes, but I'm low on cash so I might just get the girlfriend to pose for me. due to all the feedback ITT I think I'll try painting a large figure from life in the near future.
Even if it's not a large figure, some more portraits or figure drawings on medium sized paper would be more interesting to me than this kind of faux-graffiti you are doing on most of these.
it all just seems a bit masturbatory, and gives me the impression you place too much importance on individual pieces and not enough on your portfolio as a whole. Every still life is a million weird objects on textured cloth. Cezanne made beautiful paintings just using fruit on wood tables. It doesn't have to be "this is everything I'm capable of"
And the thing that bugs me the most is that on your self portrait >>2292404 you didn't even incorporate any of the stuff you include in every other painting with the landscapes and weird objects.
I can't tell if it's just a put-on to appease millennials who like overly busy concept art/graffiti. Do you actually like just painting simple portraits?
idk that just stuck out to me as very schizophrenic.
What I would like to see from you as a fan of your potential is more simple compositions, more simple subject matter, more beautiful paint application, and more precise drawing. The kitchen sink approach to painting doesn't impress me, and kind of pushes me away from your work.
>>2293244 >Every still life is a million weird objects on textured cloth you mean the this one image?: >>2292371 >masturbatory, and gives me the impression you place too much importance on individual pieces and not enough on your portfolio as a whole not sure what this means. >Cezanne made beautiful paintings just using fruit on wood tables he did. he was also cezanne. >the thing that bugs me the most is that on your self portrait, you didn't even incorporate any of the stuff you include in every other painting with the landscapes and weird objects. It's just a study of my face on an 8x10 canvas, nothing more. >that just stuck out to me as very schizophrenic. wut
I appreciate the input that these works seem busy. I'll consider that going forward, but I'm not going to be dropping my "faux-graffiti millenial- appeasing" style to paint apples.
>>2292356 This first one in the OP very much reminds me of going down to visit my grandmother or aunts down in North Carolina. Or going to my ex-girlfriend's family gathering one time. Lower class southern homes. The kitschy figurines and stuff hanging on walls. Wall paper. Custardy veggie goop in white dishes. Iced tea. Religiousness. I always felt like an alien observing some bizarro alternate universe. Having the scene be a reflection instead of the genuine article is tickling that feeling of being an outsider/observer for me. And the way the kitschy objects are in focus also reminds me of just starring at weird junk like this quizzically when I was a kid at my grandma's home, while the adults were off in the background doing whatever. This painting is tickling my brain man.
>>2293594 >unrelated but do you have any drawings you could post? not really, the only sketches I've made lately are rough studies for paintings, otherwise I'm working in oil paint or digital art or ceramic. Here are a few figure studies from last year, ~15 min. a piece.
The woman's size is at odds with the tub. It looks like she should either be up more, or smaller entirely because proportionally her legs would be clipping through the floor. That, and the office chair seems really, really low. Other then those things I like it.
>>2296080 I keep it much shorter these days. You know that beards naturally grow on men's faces and it's been that way since we lived in caves, right? Besides, it goes well with my flannel and skinny jeans.
>>2296126 I like the chunky planar approach you take, but this just doesn't feel that well observed. The proportions and construction are all slightly off. Compare this to a Lucian Freud to see how this aesthetic combined with intense observation and honesty can lead to great art.
>>2296149 t's iso, at that angle you'd never see the horizon or sky. I broke perspective where I feel it needed it. The clouds can lean whichever way they want so long as they face the viewer. >>2296156 It's far from perfect, just a quick 8x10 for practice. Freud works his canvases for an insane amount of time. I'll try a more involved portrait at some point in the future to push those observational skills. >>2296167 It's painted the same time as the rest of the face, I think the sideburns make it feel a little separate, and I've probably misjudged the size and placement a bit.
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